time and the world

This is probably asking for it on May Eve, but it wouldn't be poetry month without Yeats, even if I can't post "Sailing to Byzantium" again. And this is, I think, a good poem on which to conclude. Maybe next year I'll be more versatile -- or at least, as organized as I was last year.

Out-worn heart, in a time out-worn,
Come clear of the nets of wrong and right;
Laugh heart again in the gray twilight,
Sigh, heart, again in the dew of the morn.

Your mother Eire is always young,
Dew ever shining and twilight gray;
Though hope fall from you and love decay,
Burning in fires of a slanderous tongue.

Come, heart, where hill is heaped upon hill:
For there the mystical brotherhood
Of sun and moon and hollow and wood
And river and stream work out their will;

And God stands winding His lonely horn,
And time and the world are ever in flight;
And love is less kind than the gray twilight,
And hope is less dear than the dew of the morn.

~William Butler Yeats, "Into the Twilight," The Wind Among the Reeds, 1899.

saucy pedantic wretch

I. John Donne, "The Sun Rising," Poems, 1633.

Busy old fool, unruly sun,
Why dost thou thus,
Through windows, and through curtains call on us?
Must to thy motions lovers' seasons run?
Saucy pedantic wretch, go chide
Late school boys and sour prentices,
Go tell court huntsmen that the king will ride,
Call country ants to harvest offices,
Love, all alike, no season knows nor clime,
Nor hours, days, months, which are the rags of time.

Thy beams, so reverend and strong
Why shouldst thou think?
I could eclipse and cloud them with a wink,
But that I would not lose her sight so long;
If her eyes have not blinded thine,
Look, and tomorrow late, tell me,
Whether both th' Indias of spice and mine
Be where thou leftst them, or lie here with me.
Ask for those kings whom thou saw'st yesterday,
And thou shalt hear, All here in one bed lay.

She's all states, and all princes, I,
Nothing else is.
Princes do but play us; compared to this,
All honor's mimic, all wealth alchemy.
Thou, sun, art half as happy as we,
In that the world's contracted thus.
Thine age asks ease, and since thy duties be
To warm the world, that's done in warming us.
Shine here to us, and thou art everywhere;
This bed thy center is, these walls, thy sphere.

II. Sir Philip Sidney, Sonnet I, Astrophel and Stella, 1591.

Loving in truth, and fain in verse my love to show,
That she, dear she, might take some pleasure of my pain,--
Pleasure might cause her read, reading might make her know,
Knowledge might pity win, and pity grace obtain,--
I sought fit words to paint the blackest face of woe;
Studying inventions fine her wits to entertain,
Oft turning others' leaves, to see if thence would flow
Some fresh and fruitful showers upon my sunburn'd brain.
But words came halting forth, wanting invention's stay;
Invention, Nature's child, fled step-dame Study's blows;
And others' feet still seem'd but strangers in my way.
Thus great with child to speak and helpless in my throes,
Biting my truant pen, beating myself for spite,
"Fool," said my Muse to me, "look in thy heart, and write."

III. Christopher Marlowe, "The Passionate Shepherd To His Love," 1599.

Come live with me and be my love,
And we will all the pleasures prove,
That valleys, groves, hills, and fields,
Woods, or steepy mountain yields.

And we will sit upon the rocks,
Seeing the shepherds feed their flocks,
By shallow rivers, to whose falls
Melodious birds sing madrigals.

And I will make thee beds of roses,
And a thousand fragrant posies,
A cap of flowers and a kirtle
Embroider'd all with leaves of myrtle:

A gown made of the finest wool,
Which from our pretty lambs we pull;
Fair lined slippers for the cold,
With buckles of the purest gold:

A belt of straw and ivy buds,
With coral clasps and amber studs;
And if these pleasures may thee move,
Come live with me and be my love.

The shepherd swains shall dance and sing
For thy delight each May morning;
If these delights thy mind may move,
Then live with me and be my love.

IV. Robert Herrick, "Upon The Nipples Of Julia's Breast," Hesperides, 1648

Have ye beheld (with much delight)
A red rose peeping through a white?
Or else a cherry, double grac'd,
Within a lily centre plac'd?
Or ever mark'd the pretty beam
A strawberry shows half-drown'd in cream?
Or seen rich rubies blushing through
A pure smooth pearl and orient too?
So like to this, nay all the rest,
Is each neat niplet of her breast.

V. Andrew Marvell, "To His Coy Mistress," 1651-2, published 1681. I posted this one last year, and I quote it all the time, but it's one of my very favorite poems, and it fit the theme.

Had we but world enough, and time,
This coyness, Lady, were no crime
We would sit down and think which way
To walk and pass our long love's day.
Thou by the Indian Ganges' side
Shouldst rubies find: I by the tide
Of Humber would complain. I would
Love you ten years before the Flood,
And you should, if you please, refuse
Till the conversion of the Jews.
My vegetable love should grow
Vaster than empires, and more slow;
An hundred years should go to praise
Thine eyes and on thy forehead gaze;
Two hundred to adore each breast,
But thirty thousand to the rest;
An age at least to every part,
And the last age should show your heart.
For, Lady, you deserve this state,
Nor would I love at lower rate.

But at my back I always hear
Time's wingèd chariot hurrying near;
And yonder all before us lie
Deserts of vast eternity.
Thy beauty shall no more be found,
Nor, in thy marble vault, shall sound
My echoing song: then worms shall try
That long preserved virginity,
And your quaint honour turn to dust,
And into ashes all my lust:
The grave's a fine and private place,
But none, I think, do there embrace.

Now therefore, while the youthful hue
Sits on thy skin like morning dew,
And while thy willing soul transpires
At every pore with instant fires,
Now let us sport us while we may,
And now, like amorous birds of prey,
Rather at once our time devour
Than languish in his slow-chapt power.
Let us roll all our strength and all
Our sweetness up into one ball,
And tear our pleasures with rough strife
Thorough the iron gates of life:
Thus, though we cannot make our sun
Stand still, yet we will make him run.

The Early Moderns were sexy bastards. QED.

learn from one bird how to sing

While we were on the subject of gay sex -- although actually, this journal is always on the subject of gay sex, so while we were on the subject of poetry about gay sex -- I was going to post some Frank O'Hara. Only then I got distracted by e.e. cummings. Like you do.

you shall above all things be glad and young
For if you're young, whatever life you wear

it will become you; and if you are glad
whatever's living will yourself become.
Girlboys may nothing more than boygirls need:
i can entirely her only love

whose any mystery makes every man's
flesh put space on; and his mind take off time

that you should ever think, may god forbid
and (in his mercy) your true lover spare:
for that way knowledge lies, the foetal grave
called progress, and negation's dead undoom.

I'd rather learn from one bird how to sing
than teach ten thousand stars how not to dance

~e.e. cummings, "you shall above all things be glad and young"

and I can kiss ennui goodbye

Gillian loaned me Marilyn Hacker's Love, Death, and the Changing of the Seasons, so I could use it for National Poetry Month. Also because who doesn't love a 212-page sonnet cycle about a teacher-student lesbian love affair?

After the supper dishes, let us start
where we left off, my knees between your knees,
half in the window seat. O let me, please,
hands in your hair, drink in your mouth. Sweetheart,
your body is a text I need the art
to be constructed by. I halfway kneel
to your lap, propped by your thighs, and feel
burning my hand, your privacy, your part
armor underwear. This time I'll loose
each button from its hole; I'll find the hook,
release promised abundance to this want,
while your hands, please, here and here, exigent
and certain, open this; it is, this book,
made for your hands to read, your mouth to use.

~Marilyn Hacker, "Future Conditional," from Love, Death, and the Changing of the Seasons, 1986

I'm also rather fond of this one:

Note to Elaine the speech pathologist:
grief tumbles into lust, a crush can cruise
across some conversations, to, good news,
a choice, and ladies who have gone unkissed
beyond a certain age can get a chance
to demonstrate they've not forgotten how
to do it. I am fully forty-two
--there was no disco when I learned to dance--
but there's some girl left in this old life yet.
I think you've noticed that I'm getting some
brand-old ideas (fifty-seven poems
in seven weeks, Elaine!) and I can kiss
ennui goodbye. Just for the record, this
girl got as much girl as she hoped to get.

~Marilyn Hacker, from Love, Death, and the Changing of the Seasons, 1986

Also worth noting in this book is the couplet: "Achilles hung out in his tent and pouted/until they made the Iliad about it," which, in my opinion, never, ever gets old. I actually really love the whole book. And I think sonnet cycles are one of my very favorite means of storytelling.

not of an age, but for all time

I've already broken all of my other arbitrary, self-imposed National Poetry Month rules, and honestly, I think I should post this poem every year, on this date, for that best beloved of all poets.

To draw no envy, Shakespeare, on thy name,
Am I thus ample to thy book and fame;
While I confess thy writings to be such
As neither man nor Muse can praise too much.
’Tis true, and all men’s suffrage. But these ways
Were not the paths I meant unto thy praise;
For seeliest Ignorance on these may light,
Which, when it sounds at best, but echoes right;
Or blind Affection, which doth ne’er advance
The truth, but gropes and urgeth all by chance;
Or crafty Malice might pretend this praise,
And think to ruin where it seem’d to raise.
These are as some infamous bawd or whore
Should praise a matron. What could hurt her more?
But thou art proof against them, and, indeed,
Above the ill-fortune of them, or the need.
I, therefore, will begin. Soul of the age!
The applause, delight, the wonder of our stage,
My Shakespeare, rise! I will not lodge thee by
Chaucer, or Spenser, or bid Beaumont lie
A little further, to make thee a room:
Thou art a monument without a tomb,
And art alive still, while thy book doth live,
And we have wits to read, and praise to give.
That I not mix thee so, my brain excuses;
I mean, with great but disproportion’d Muses.
For, if I thought my judgment were of years,
I should commit thee, surely, with thy peers.
And tell how far thou didst our Lyly outshine,
Or sporting Kyd, or Marlowe’s mighty line.
And though thou hadst small Latin and less Greek,
From thence, to honour thee, I would not seek
For names; but call forth thund’ring Aeschylus,
Euripides, and Sophocles to us,
Paccuvius, Accius, him of Cordova dead
To life again, to hear thy buskin tread
And shake a stage; or when thy socks were on,
Leave thee alone, for the comparison
Of all that insolent Greece or haughty Rome
Sent forth; or since did from their ashes come.
Triumph, my Britain! Thou hast one to show
To whom all scenes of Europe homage owe.
He was not of an age, but for all time!
And all the Muses still were in their prime,
When, like Apollo, he came forth to warm
Our ears, or, like a Mercury, to charm.
Nature herself was proud of his designs,
And joy’d to wear the dressing of his lines,
Which were so richly spun, and woven so fit
As, since, she will vouchsafe no other wit.
The merry Greek, tart Aristophanes,
Neat Terence, witty Plautus, now not please;
But antiquated and deserted lie,
As they were not of Nature’s family.
Yet must I not give Nature all! Thy art,
My gentle Shakespeare, must enjoy a part.
For though the Poet’s matter Nature be
His art doth give the fashion. And that he
Who casts to write a living line, must sweat
(Such as thine are), and strike the second heat
Upon the Muses’ anvil, turn the same
(And himself with it), that he thinks to frame;
Or for the laurel he may gain a scorn!
For a good Poet’s made as well as born;
And such wert thou! Look how the father’s face
Lives in his issue; even so, the race
Of Shakespeare’s mind and manners brightly shines
In his well-turned and true-filed lines;
In each of which he seems to shake a lance
As brandish’d at the eyes of Ignorance.
Sweet Swan of Avon! what a sight it were
To see thee in our water yet appear,
And make those flights upon the banks of Thames
That so did take Eliza, and our James!
But stay, I see thee in the hemisphere
Advanc’d, and made a constellation there!
Shine forth, thou star of poets, and with rage
Or influence, chide, or cheer the drooping stage;
Which since thy flight from hence hath mourn’d like night,
And despairs day, but for thy volume’s light.

~Ben Jonson, To the Memory of My Beloved the Author, Mr. William Shakespeare and What He Hath Left Us, Preface to the First Shakespeare Folio of 1623.

like some watcher of the skies

I was going to post Adonais, Percy Bysshe Shelley's elegy on the death of John Keats, because I was thinking about Keats, and I was thinking about Shelley, and I was thinking about elegies. I can't quite bring myself to do it, though. It's very long, and I actually hate most of it, despite the occasional moments of glory. And then I was thinking that I might post "Ozymandias," but Heather already did. And then I was thinking I might throw poet repetition to the winds and post "The Eve of St. Agnes" or Hyperion, but they're also very long. And then I thought, well, someone was talking about Petrarchan sonnets in the hall outside my office, this morning.

Much have I travell'd in the realms of gold,
And many goodly states and kingdoms seen;
Round many western islands have I been
Which bards in fealty to Apollo hold.
Oft of one wide expanse had I been told
That deep-brow'd Homer ruled as his demesne;
Yet did I never breathe its pure serene
Till I heard Chapman speak out loud and bold:
Then felt I like some watcher of the skies
When a new planet swims into his ken;
Or like stout Cortez when with eagle eyes
He star'd at the Pacific--and all his men
Look'd at each other with a wild surmise--
Silent, upon a peak in Darien.

~John Keats, "On First Looking into Chapman's Homer," Oct. 1816. I really, really love this poem, but it is probably worth mentioning that, though also occasionally glorious, Chapman's Homer is actually kind of crap. I don't think that really alters the beauty of the sonnet, however.

all the reason for its telling

The thing about Mary Oliver is that she writes poems that I want to live. Last year, I posted "When Death Comes" and "Wild Geese," which are probably my favorites. But there's something in almost all of Mary Oliver's poetry, in her imagery and gorgeous turns of phrase and --  especially -- in the lens through which she views the world, that really gets me. I can't articulate it, entirely, but it hits the same chord in my heart that autumn in New England and spring at Mount Holyoke do, something about beauty, and life, and love, and meaning, and metaphor, and existing the right way in our troubled, complicated, glorious, imperfect world. At the moment, it also means that I found it impossible to pick a single poem. I'm failing at poetry month this year, anyway, and so, a selection:

I.

I tied together
a few slender reeds, cut
notches to breathe across and made
such music you stood
shock still and then

followed as I wandered growing
moment by moment
slant-eyes and shaggy, my feet
slamming over the rocks, growing
hard as horn, and there

you were behind me, drowning
in the music, letting
the silver clasps out of your hair,
hurrying, taking off
your clothes.

I can't remember
where this happened but I think
it was late summer when everything
is full of fire and rounding to fruition
and whatever doesn't,
or resists,
must lie like a field of dark water under
the pulling moon,
tossing and tossing.

In the brutal elegance of cities
I have walked down
the halls of hotels

and heard this music behind
shut doors.

Do you think the heart
is accountable? Do you think the body
any more than a branch
of the honey locust tree,

hunting water,
hunching toward the sun,
shivering, when it feels
that good, into
white blossoms?

Or do you think there is a kind
of music, a certain strand
that lights up the otherwise
blunt wilderness of the body -
a furious
and unaccountable selectivity?

Ah well, anyway, whether or not
it was late summer, or even
in our part of the world, it is all
only a dream, I did not
turn into the lithe goat god. Nor did you come running
like that.

Did you?

~Mary Oliver, "Music," American Primitive, 1983.

II.

All summer I made friends
with the creatures nearby ---
they flowed through the fields
and under the tent walls,
or padded through the door,
grinning through their many teeth,
looking for seeds,
suet, sugar; muttering and humming,
opening the breadbox, happiest when
there was milk and music. But once
in the night I heard a sound
outside the door, the canvas
bulged slightly ---something
was pressing inward at eye level.
I watched, trembling, sure I had heard
the click of claws, the smack of lips
outside my gauzy house ---
I imagined the red eyes,
the broad tongue, the enormous lap.
Would it be friendly too?
Fear defeated me. And yet,
not in faith and not in madness
but with the courage I thought
my dream deserved,
I stepped outside. It was gone.
Then I whirled at the sound of some
shambling tonnage.
Did I see a black haunch slipping
back through the trees? Did I see
the moonlight shining on it?
Did I actually reach out my arms
toward it, toward paradise falling, like
the fading of the dearest, wildest hope ---
the dark heart of the story that is all
the reason for its telling?

~Mary Oliver, "The Chance To Love Everything," Dream Work, 1986.

III.

Here in my head, language
keeps making its tiny noises.

How can I hope to be friends
with the hard white stars

whose flaring and hissing are not speech
but I pure radiance?

How can I hope to be friends
with the yawning spaces between them

where nothing, ever, is spoken?
Tonight, at the edge of the field,

I stood very still, and looked up,
and tried to be empty of words.

What joy was it, that almost found me?
What amiable peace?

Then it was over, the wind
roused up in the oak trees behind me

and I fell back, easily.
Earth has a hundred thousand pure contraltos--

even the distant night bird
as it talks threat, as it talks love

over the cold, black fields.
Once, deep in the woods,

I found the white skill of a bear
and it was utterly silent--

and once a river otter, in a steel trap,
and it too was utterly silent.

What can we do
but keep on breathing in and out,

modest and willing, and in our places?
Listen, listen, I'm forever saying.

Listen to the river, to the hawk, to the hoof,
to the mockingbird, to the jack-in-the-pulpit--

then I come up with a few words, like a gift.
Evan as now.

Even as the darkness has remained the pure, deep darkness.
Even as the stars have twirled a little, while I stood here,

looking up,
one hot sentence after another.

~Mary Oliver, "Stars," West Wind, 1997.

IV.

I want to make poems that say right out, plainly,
what I mean, that don't go looking for the
laces of elaboration, puffed sleeves. I want to
keep close and use often words like
heavy, heart, joy, soon, and to cherish
the question mark and her bold sister

the dash. I want to write with quiet hands. I
want to write while crossing fields that are
fresh with daisies and everlasting and the
ordinary grass. I want to make poems while thinking of
the bread of heaven and the
cup of astonishment; let them be

songs in which nothing is neglected,
not a hope, not a promise. I want to make poems
that look into the earth and the heavens
and see them unseeable. I want them to honor
both the heart of faith, and the light of the world;
the gladness that says, without any words, everything.

~Mary Oliver, "Everything," New Poems: 2004-2005 from New and Selected Poems, Volume Two, 2005.

of bronze and blaze

My favorite Emily Dickinson nature poem is about winter, and it's not quite right for my mood, today. So:

Of bronze and blaze
The north, to-night!
So adequate its forms,
So preconcerted with itself,
So distant to alarms,—
An unconcern so sovereign
To universe, or me,
It paints my simple spirit
With tints of majesty,
Till I take vaster attitudes,
And strut upon my stem,
Disdaining men and oxygen,
For arrogance of them.

My splendors are menagerie;
But their competeless show
Will entertain the centuries
When I am, long ago,
An island in dishonored grass,
Whom none but daisies know.

~Emily Dickinson, CIX, "Part Two: Nature," Complete Poems, 1924.

water your damned flower-pots, do!

Here, have some Browning:

I

Gr-r-r--there go, my heart's abhorrence!
Water your damned flower-pots, do!
If hate killed men, Brother Lawrence,
God's blood, would not mine kill you!
What? your myrtle-bush wants trimming?
Oh, that rose has prior claims--
Needs its leaden vase filled brimming?
Hell dry you up with its flames!

II

At the meal we sit together:
Salve tibi! I must hear
Wise talk of the kind of weather,
Sort of season, time of year:
Not a plenteous cork-crop: scarcely
Dare we hope oak-galls, I doubt:
What's the Latin name for "parsley"?
What's the Greek name for Swine's Snout?

III

Whew! We'll have our platter burnished,
Laid with care on our own shelf!
With a fire-new spoon we're furnished,
And a goblet for ourself,
Rinsed like something sacrificial
Ere 'tis fit to touch our chaps--
Marked with L. for our initial!
(He-he! There his lily snaps!)

IV

Saint, forsooth! While brown Dolores
Squats outside the Convent bank
With Sanchicha, telling stories,
Steeping tresses in the tank,
Blue-black, lustrous, thick like horsehairs,
--Can't I see his dead eye glow,
Bright as 'twere a Barbary corsair's?
(That is, if he'd let it show!)

V

When he finishes refection,
Knife and fork he never lays
Cross-wise, to my recollection,
As I do, in Jesu's praise.
I the Trinity illustrate,
Drinking watered orange-pulp —
In three sips the Arian frustrate
While he drains his at one gulp.

VI

Oh, those melons? If he's able
We're to have a feast! so nice!
One goes to the Abbot's table,
All of us eager to get a slice.
How go on your flowers? None double?
Not one fruit-sort can you spy?
Strange!--And I, too, at such trouble,
Keep them close-nipped on the sly!

VII

There's a great text in Galatians,
Once you trip on it, entails
Twenty-nine distinct damnations,
One sure, if another fails.
If I trip him just a-dying,
Sure of heaven as sure can be,
Spin him round and send him flying
Off to hell, a Manichee?

VIII

Or, my scrofulous French novel,
On grey paper with blunt type!
Simply glance at it, you grovel
Hand and foot in Belial's gripe:
If I double down its pages
At the woeful sixteenth print,
When he gathers his greengages,
Ope a sieve and slip it in't?

IX

Or, there's Satan!--one might venture
Pledge one's soul to him, yet leave
Such a flaw in the indenture
As he'd miss it till, past retrieve,
Blasted lay that rose-acacia
We're so proud of! Hy, Zy, Hine . . .
'St, there's Vespers! Plena gratia
Ave, Virgo! Gr-r-r--you swine!

~Robert Browning, "Soliloquy of the Spanish Cloister," Dramatic Lives, 1842. I totally don't get this poem, but I think it is awesome and hilarious nonetheless.

and all is always now

I'm still ill, but I'm feeling more positive about my life. I stayed home, and sniffled, and popped sudafed and drank cough syrup, and watched a lot of Buffy (Season 7, because I thought I could use the motivational speeches, and also because I wanted to watch Season 6 but it hits a little too close to home, these days), and actually did work from home. I feel like crap, still, but it was a good day.

This poem has nothing to do with either Buffy or my current state of ill health, and in fact bears little relevance to anything. I won't say it's my favorite of his (I think in all honesty I prefer the heady insanity of The Wasteland -- and it's part of a larger poem, anyway -- but I am very fond. I like the circularity, and the language.

I

Time present and time past
Are both perhaps present in time future,
And time future contained in time past.
If all time is eternally present
All time is unredeemable.
What might have been is an abstraction
Remaining a perpetual possibility
Only in a world of speculation.
What might have been and what has been
Point to one end, which is always present.
Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened
Into the rose-garden. My words echo
Thus, in your mind.

But to what purpose
Disturbing the dust on a bowl of rose-leaves
I do not know.

Other echoes
Inhabit the garden. Shall we follow?
Quick, said the bird, find them, find them,
Round the corner. Through the first gate,
Into our first world, shall we follow
The deception of the thrush? Into our first world.
There they were, dignified, invisible,
Moving without pressure, over the dead leaves,
In the autumn heat, through the vibrant air,
And the bird called, in response to
The unheard music hidden in the shrubbery,
And the unseen eyebeam crossed, for the roses
Had the look of flowers that are looked at.
There they were as our guests, accepted and accepting.
So we moved, and they, in a formal pattern,
Along the empty alley, into the box circle,
To look down into the drained pool.
Dry the pool, dry concrete, brown edged,
And the pool was filled with water out of sunlight,
And the lotos rose, quietly, quietly,
The surface glittered out of heart of light,
And they were behind us, reflected in the pool.
Then a cloud passed, and the pool was empty.
Go, said the bird, for the leaves were full of children,
Hidden excitedly, containing laughter.
Go, go, go, said the bird: human kind
Cannot bear very much reality.
Time past and time future
What might have been and what has been
Point to one end, which is always present.

II

Garlic and sapphires in the mud
Clot the bedded axle-tree.
The trilling wire in the blood
Sings below inveterate scars
Appeasing long forgotten wars.
The dance along the artery
The circulation of the lymph
Are figured in the drift of stars
Ascend to summer in the tree
We move above the moving tree
In light upon the figured leaf
And hear upon the sodden floor
Below, the boarhound and the boar
Pursue their pattern as before
But reconciled among the stars.

At the still point of the turning world. Neither flesh nor fleshless;
Neither from nor towards; at the still point, there the dance is,
But neither arrest nor movement. And do not call it fixity,
Where past and future are gathered. Neither movement from nor towards,
Neither ascent nor decline. Except for the point, the still point,
There would be no dance, and there is only the dance.
I can only say, there we have been: but I cannot say where.
And I cannot say, how long, for that is to place it in time.
The inner freedom from the practical desire,
The release from action and suffering, release from the inner
And the outer compulsion, yet surrounded
By a grace of sense, a white light still and moving,
Erhebung without motion, concentration
Without elimination, both a new world
And the old made explicit, understood
In the completion of its partial ecstasy,
The resolution of its partial horror.
Yet the enchainment of past and future
Woven in the weakness of the changing body,
Protects mankind from heaven and damnation
Which flesh cannot endure.

Time past and time future
Allow but a little consciousness.
To be conscious is not to be in time
But only in time can the moment in the rose-garden,
The moment in the arbour where the rain beat,
The moment in the draughty church at smokefall
Be remembered; involved with past and future.
Only through time time is conquered.

III

Here is a place of disaffection
Time before and time after
In a dim light: neither daylight
Investing form with lucid stillness
Turning shadow into transient beauty
With slow rotation suggesting permanence
Nor darkness to purify the soul
Emptying the sensual with deprivation
Cleansing affection from the temporal.
Neither plenitude nor vacancy. Only a flicker
Over the strained time-ridden faces
Distracted from distraction by distraction
Filled with fancies and empty of meaning
Tumid apathy with no concentration
Men and bits of paper, whirled by the cold wind
That blows before and after time,
Wind in and out of unwholesome lungs
Time before and time after.
Eructation of unhealthy souls
Into the faded air, the torpid
Driven on the wind that sweeps the gloomy hills of London,
Hampstead and Clerkenwell, Campden and Putney,
Highgate, Primrose and Ludgate. Not here
Not here the darkness, in this twittering world.

Descend lower, descend only
Into the world of perpetual solitude,
World not world, but that which is not world,
Internal darkness, deprivation
And destitution of all property,
Desiccation of the world of sense,
Evacuation of the world of fancy,
Inoperancy of the world of spirit;
This is the one way, and the other
Is the same, not in movement
But abstention from movement; while the world moves
In appetency, on its metalled ways
Of time past and time future.

IV

Time and the bell have buried the day,
The black cloud carries the sun away.
Will the sunflower turn to us, will the clematis
Stray down, bend to us; tendril and spray
Clutch and cling?

Chill
Fingers of yew be curled
Down on us? After the kingfisher's wing
Has answered light to light, and is silent, the light is still
At the still point of the turning world.

V

Words move, music moves
Only in time; but that which is only living
Can only die. Words, after speech, reach
Into the silence. Only by the form, the pattern,
Can words or music reach
The stillness, as a Chinese jar still
Moves perpetually in its stillness.
Not the stillness of the violin, while the note lasts,
Not that only, but the co-existence,
Or say that the end precedes the beginning,
And the end and the beginning were always there
Before the beginning and after the end.
And all is always now. Words strain,
Crack and sometimes break, under the burden,
Under the tension, slip, slide, perish,
Decay with imprecision, will not stay in place,
Will not stay still. Shrieking voices
Scolding, mocking, or merely chattering,
Always assail them. The Word in the desert
Is most attacked by voices of temptation,
The crying shadow in the funeral dance,
The loud lament of the disconsolate chimera.

The detail of the pattern is movement,
As in the figure of the ten stairs.
Desire itself is movement
Not in itself desirable;
Love is itself unmoving,
Only the cause and end of movement,
Timeless, and undesiring
Except in the aspect of time
Caught in the form of limitation
Between un-being and being.
Sudden in a shaft of sunlight
Even while the dust moves
There rises the hidden laughter
Of children in the foliage
Quick now, here, now, always—
Ridiculous the waste sad time
Stretching before and after.

~T.S. Eliot, "Burnt Norton," Four Quartets, 1935

if the clouds were singing a song

In the final smackdown between "home sick" and "working from home" I think "home sick" is winning. I went to work this morning, which was apparently a bad idea because now I am useless and kind of high on cough syrup and fake sudafed. I would like to have real sudafed, but I think these days it would probably be easier to get my hands on meth, and, like, extract the sudafed or something. Did I mention the part where I was high on cough syrup? ANYWAY. Poetry! I don't necessarily agree with this poem (or, always, with Stevens), but I do think it is lovely and evocative.

Gloomy grammarians in golden gowns,
Meekly you keep the mortal rendezvous,
Eliciting the still sustaining pomps
Of speech which are like music so profound
They seem an exaltation without sound.
Funest philosophers and ponderers,
Their evocations are the speech of clouds.
So speech of your processionals returns
In the casual evocations of your tread
Across the stale, mysterious seasons. These
Are the music of meet resignation; these
The responsive, still sustaining pomps for you
To magnify, if in that drifting waste
You are to be accompanied by more
Than mute bare splendors of the sun and moon.

~Wallace Stevens, "On the Manner of Addressing Clouds," from Harmonium, 1923. I swear one day I will stop affiliating bandom without my poetry posts, but you just know Ryan Ross reads Wallace Stevens.

the unconquerable will

Since it is my birthday, and since I have missed over a week of National Poetry Month, and since I believe in grand gestures, and since I do, in fact, also genuinely believe that John Milton is a cure for all ailments, here is a substantial chunk of one of my favorite poems in the world. I had a hard time deciding which substantial chunk, though, because there's Book 9, which I love for Eve and the climax of the story, and there's Book 7, which I love for the creation myth, and there are Books 10-12, which I just sort of love. But in the end, well, there's the beginning.

batter my heart

For April 3rd:

Batter my heart, three-personed God, for you
As yet but knock, breathe, shine, and seek to mend;
That I may rise, and stand, o'erthrow me, and bend
Your force to break, blow, burn, and make me new.
I, like an usurped town, to another due,
Labour to admit you, but Oh, to no end.
Reason, your viceroy in me, me should defend,
But is captived, and proves weak or untrue.
Yet dearly I love you, and would be loved fain,
But am betrothed unto your enemy:
Divorce me, untie or break that knot again,
Take me to you, imprison me, for I,
Except you enthrall me, never shall be free,
Nor ever chaste, except you ravish me.

~John Donne, Holy Sonnet XIV, affectionately known as the "John Donne is Gay for God" poem.

For April 4th:

Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O no! it is an ever-fixed mark
That looks on tempests and is never shaken;
It is the star to every wandering bark,
Whose worth's unknown, although his height be taken.
Love's not Time's fool, though rosy lips and cheeks
Within his bending sickle's compass come:
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
If this be error and upon me proved,
I never writ, nor no man ever loved.

~William Shakespeare, Sonnet CXVI, which will probably always be my favorite no matter how much I wish my favorite was one of the more obscure ones.

heard melodies are sweet

JJ and I were talking about "Ode on a Grecian Urn," yesterday, and while I am somewhat loathe to squander Keats so early in the month -- much less be so Romantics-centric so early in the month -- I can't seem to get the poem out of my head.

Thou still unravish'd bride of quietness,
Thou foster-child of Silence and slow Time,
Sylvan historian, who canst thus express
A flowery tale more sweetly than our rhyme:
What leaf-fringed legend haunts about thy shape
Of deities or mortals, or of both,
In Tempe or the dales of Arcady?
What men or gods are these? What maidens loth?
What mad pursuit? What struggle to escape?
What pipes and timbrels? What wild ecstasy?

Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear'd,
Pipe to the spirit ditties of no tone:
Fair youth, beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare;
Bold Lover, never, never canst thou kiss,
Though winning near the goal—yet, do not grieve;
She cannot fade, though thou hast not thy bliss,
For ever wilt thou love, and she be fair!

Ah, happy, happy boughs! that cannot shed
Your leaves, nor ever bid the Spring adieu;
And, happy melodist, unwearièd,
For ever piping songs for ever new;
More happy love! more happy, happy love!
For ever warm and still to be enjoy'd,
For ever panting, and for ever young;
All breathing human passion far above,
That leaves a heart high-sorrowful and cloy'd,
A burning forehead, and a parching tongue.

Who are these coming to the sacrifice?
To what green altar, O mysterious priest,
Lead'st thou that heifer lowing at the skies,
And all her silken flanks with garlands drest?
What little town by river or sea-shore,
Or mountain-built with peaceful citadel,
Is emptied of its folk, this pious morn?
And, little town, thy streets for evermore
Will silent be; and not a soul, to tell
Why thou art desolate, can e'er return.

O Attic shape! fair attitude! with brede
Of marble men and maidens overwrought,
With forest branches and the trodden weed;
Thou, silent form! dost tease us out of thought
As doth eternity: Cold Pastoral!
When old age shall this generation waste,
Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou say'st,
Beauty is truth, truth beauty,—that is all
Ye know on earth, and all ye need to know.

~John Keats, "Ode on a Grecian Urn," 1819/20. I've left the quotation marks off the last two lines; read them how best you like. Keats will, probably forever, make me think of Aurora's adage: "Keats is like kissing people." Try reading the poem aloud, and you'll see what she means.

early spring

Last year, for the month of April, I posted a poem a day for National Poetry Month. I've intended all along to repeat the effort, although we'll see how it goes, because this April is going to be a different sort of crazy than last April, with potentially less internet access and definitely less access to the sixth floor of the Williston Memorial Library. This year, as well, other people on my friends list are also posting poetry, and it can get to be overkill. Or perhaps not overkill, precisely, because poetry, but still. Nevertheless, let us begin, in a mellow sort of way, with Wordsworth:

I heard a thousand blended notes
While in a grove I sate reclined,
In that sweet mood when pleasant thoughts
Bring sad thoughts to the mind.

To her fair works did Nature link
The human soul that through me ran;
And much it grieved my heart to think
What Man has made of Man.

Through primrose tufts, in that sweet bower,
The periwinkle trail’d its wreaths;
And ’tis my faith that every flower
Enjoys the air it breathes.

The birds around me hopp’d and play’d,
Their thoughts I cannot measure,—
But the least motion which they made
It seem’d a thrill of pleasure.

The budding twigs spread out their fan
To catch the breezy air;
And I must think, do all I can,
That there was pleasure there.

If this belief from heaven be sent,
If such be Nature’s holy plan,
Have I not reason to lament
What Man has made of Man?

~William Wordsworth, "Lines Written In Early Spring," 1798